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Differentiating ERAN and MMN: an ERP Study NEUROPHYSIOLOGY, BASIC AND CLINICAL NEUROREPORT Differentiating ERAN and MMN: An ERP study Stefan Koelsch,1,CA Thomas C. Gunter,1 Erich SchroÈger,2 Mari Tervaniemi,3 Daniela Sammler1,2 and Angela D. Friederici1 1Max Planck Institute of Cognitive Neuroscience, Stephanstr. 1a, D-04103 Leipzig; 2Institute of General Psychology, Leipzig, Germany; 3Cognitive Brain Research Unit, Helsinki, Finland CACorresponding Author Received 14 February 2001; accepted 27 February 2001 In the present study, the early right-anterior negativity (ERAN) both a longer latency, and a larger amplitude. The combined elicited by harmonically inappropriate chords during listening ®ndings indicate that ERAN and MMN re¯ect different mechan- to music was compared to the frequency mismatch negativity isms of pre-attentive irregularity detection, and that, although (MMN) and the abstract-feature MMN. Results revealed that both components have several features in common, the ERAN the amplitude of the ERAN, in contrast to the MMN, is does not easily ®t into the classical MMN framework. The speci®cally dependent on the degree of harmonic appropriate- present ERPs thus provide evidence for a differentiation of ness. Thus, the ERAN is correlated with the cognitive cognitive processes underlying the fast and pre-attentive processing of complex rule-based information, i.e. with the processing of auditory information. NeuroReport 12:1385±1389 application of music±syntactic rules. Moreover, results showed & 2001 Lippincott Williams & Wilkins. that the ERAN, compared to the abstract-feature MMN, had Key words: Auditory processing; EEG; ERAN; ERP; MMN; Music INTRODUCTION not a frequency MMN which is known to be elicited only Accurate pitch perception is a prerequisite for the proces- when a deviant tone, or chord, is preceded by a few sing of melodic, harmonic, and prosodic aspects of both standard tones or chords with identical frequency [8,9]. language and music. Recently, neural dynamics underlying Notably, both harmonically appropriate and inappropriate pitch processing within a musical context have been chords were consonant, major chords. It was only the extensively investigated by recording the mismatch nega- surrounding musical context that made some chords with tivity (MMN) [1,2], the right anterior-temporal negativity respect to principles and rules described by the theory of (RATN) [3], and the early right-anterior negativity (ERAN) harmony inappropriate (see below). [4±6], which are components of the auditory event-related Nevertheless, the ERAN is reminiscent of the MMN: (a) potential (ERP). The present study aimed at differentiating both ERAN and MMN have a similar time-course and MMN and ERAN. scalp-distribution, (b) the amplitudes of both ERAN and In previous studies investigating the perception of ma- MMN increase with the amount of violation and are jor±minor (i.e. Western) tonal music, harmonically inap- connected to behavioral discrimination performance, and propriate chords presented within a musical chord (c) both MMN and ERAN can be elicited pre-attentively sequence elicited a negativity in the ERP which was [5,8,9]. Moreover, in previous experiments the ERAN was maximal around 200 ms and right-anteriorly predominant elicited in a paradigm which has similarities to the audi- [4,5]. Due to its early latency with respect to the RATN, tory oddball paradigm, a paradigm often used to elicit an and due to its similarity to the early left anterior negativity MMN. (ELAN) [7], this ERP component was termed the early In the present study, chord sequences were presented to right-anterior negativity, or ERAN. With respect to their the participants, each sequence consisting of ®ve chords, functional signi®cance, the RATN and the ERAN are and one sequence directly following the other (middle of suggested to re¯ect the processing of musical syntax, Fig. 1). Most of the sequences consisted of in-key chords whereas the ELAN is known to be elicited by word only, but infrequently chords at the third or at the ®fth category violations and therefore taken to re¯ect syntactic position of the sequences were Neapolitan sixth chords. language processing. Neapolitan chords (in C major: f±a ¯at±d ¯at; Fig. 1) In the studies of Koelsch et al. [4±6], harmonically contain out-of-key notes (in C major: a ¯at and d ¯at) with inappropriate chords did not represent a physical deviancy respect to the harmonic context established by the preced- with respect to the preceding chords. Thus, the ERAN is ing in-key chords. Following the theory of harmony, 0959-4965 & Lippincott Williams & Wilkins Vol 12 No 7 25 May 2001 1385 NEUROREPORT S. KOELSCH ET AL. abstract feature MMN: priate/inappropriate' [13±16]. If so, the amplitude modula- tion of the ERAN (third versus ®fth position of a chord sequence) would not be due to any complex rule-based processing of harmonic information, but merely be depen- chord deviations: dent on the position within a stimulus train (i.e. within a sequence of acoustic events), regardless of the buildup of a musical context. In order to test whether the ERAN is an abstract feature MMN, participants of the present study were presented with acoustic events containing an abstract feature (tone etc. pairs raising (standard) or falling (deviant) in pitch, see Fig. 1), but not building up a context towards the end of each stimulus sequence. If the processes re¯ected in the ERAN are the same as those re¯ected in the MMN, the frequency MMN amplitude of the abstract feature MMN should, like the amplitude of the ERAN, increase towards the end of a stimulus sequence. Three blocks were conducted: an abstract feature MMN block, a block with chord sequences, Fig. 1. Examples of stimuli. In all blocks, stimuli were presented with the same time-course, loudness, and probability of deviant events and a frequency MMN block (with single tones, Fig. 1). In (deviant events are indicated by the arrows). all three blocks, stimuli were presented with the same time-course and the same probability of deviant events. Neapolitans may be considered as a variation of the MATERIALS AND METHODS subdominant (a minor subdominant with a minor sixth Subjects: Twenty-eight right-handed and normal-hearing instead of a ®fth). Neapolitans at the ®fth position are subjects (aged 19±28 years, mean 23.4, 15 of them females) perceived as more inappropriate than when they are participated in the experiment. Subjects were non-musi- presented at the third position for two reasons: (a) because cians, i.e. they had never learned to play an instrument or of the musical context buildup, the tonal expectancies of professional singing, and they did not have any special listeners are more speci®c at the end of a sequence [10,11], musical education besides normal school education. and (b) since Neapolitans function in music- theory as subdominant variation, a Neapolitan at the third position Stimuli: All stimuli were played under computerized is fairly suitable (since a subdominant is appropriate), control via MIDI with a piano sound on a Roland JV-2080 whereas a Neapolitan at the ®fth position (where a tonic synthesizer. In all blocks, each stimulus sequence consisted chord is appropriate only) is inappropriate; it has been of ®ve events, presentation time (PT) of events 1±4 was shown that harmonically appropriate chord functions are 600 ms, of the ®fth event 1200 ms (in the ®rst block, the ®rst expected to a higher degree compared to inappropriate tone of each tone-pair had a PT of 100 ms, i.e. PT of the chords [10,11]. second tone was 500 ms (1100 ms at the ®fth position) Notably, harmonic expectancies of listeners follow prin- respectively). Deviant events (in the ®rst block falling tone- ciples which correspond to the harmonic relations of differ- pairs, in the second block Neapolitan chords, in the third ent chords (and keys, respectively). These relationships block tones with different frequency) occurred in some form the basis of the major±minor tonal system and are sequences randomly at either the third ( p 0.2) or ®fth described by the theory of harmony. The principles which position ( p 0.2). All chords and tones had the same govern harmonic expectancies have been described in loundness and the same decay of loudness, there was no detail as a hierarchy of harmonic stability [11]. In previous silent period between events or sequences; one sequence music experiments employing an experimental paradigm directly followed the other (Fig. 1). In each block, the same similar to that of the present study [4±6] it could be shown deviant events were employed at the third and ®fth that the degree of harmonic incongruity (i.e. the degree of position, i.e. deviant events were in each block on average harmonic expectancy violation) is re¯ected in the ampli- physically identical. Sequences containing a deviant event tude of the ERAN: The ERAN is smaller when elicited by were always preceded by a sequence exclusively consisting Neapolitans at the third position of a chord sequence of standards. Chords and tones were played with 55 dB compared to the ®fth position. That is, the elicitation and SPL. In each block, 255 sequences were presented, resulting amplitude modulation of the ERAN can be explained on in a block duration of 15 min. the basis of music theory, or, in other words, the ERAN may re¯ect cognitive processes which refer to a complex Task: In all blocks, subjects were playing a video-game rule system (which may be taken as musical syntax under the instruction to ignore all acoustic stimuli. [4,6,10±12]). This would contrast the MMN, which is In Block 1 (abstract feature MMN), standard stimuli known to be elicited either by physical deviance, or by were single-tone pairs raising in pitch, deviant pairs were rather simple abstract feature deviances which do not refer falling in pitch (top of Fig.
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